An curious answers from Machine..
TSystem
Tablatures chords, scales and modes for computer systems.
This collection serves dual artistic and scientific objectives, facilitating harmonic and ethnomusicological analysis while addressing professional requirements in sound design and electroacoustic composition.
An additional aim involves advanced compositional research centered on the superposition of complex chords and sound clusters characteristic of Stockhausen, Ligeti, and Varèse—figures whose work has shaped electronic experimentation and contemporary orchestration.
Beginning during my studies at various conservatories, I systematically cataloged scales, modes, and chords. These were organized into structured lists designed for rapid retrieval and manipulation via indexing functions, supporting the development of layered harmonic structures and polychordal progressions—key elements in generative music and soundscapes.
Initial implementations commenced in May 2015, employing spreadsheets for numerical computation. At that stage, the collections comprised lists including:
• Major and minor chords
• Inversions and suspensions
• Subdominant and dominant derivatives
• Triadic superimpositions for cluster generation
During experimentation, I identified two data categories within computational systems:
• Initialized data (“i”) – precomputed and ready for use
• Generated data (“k”) – requiring calculation
To optimize performance and accelerate indexing, I manually initialized lists, enabling efficient manipulation of overlapping chord patterns and iterative polyrhythmic construction.
Because conventional chord nomenclature was not always compatible with computational syntax, I adopted a simplified nomenclature:
• D = sharp (#)
• b = flat
• M = major chords
• m = minor chords
Example: Cmi6 := {C, Eb, G, A}, where 6 denotes the sixth degree (A) of the C minor chord.
Primary progressions were denoted in Roman numerals—for instance, CIV for the subdominant chord of C major (F, A, C)—to streamline progression generation.
A pivotal development occurred with the consultation of the CookBook JazzMaster, which integrated dissonant jazz chords into the system alongside classical progressions. The capacity to concatenate poly-chordal overlaps facilitated the creation of complex soundscapes.
In 2022, a commission prompted experimentation within CSound via the CsoundQt editor to generate MIDI tracks. The simultaneous processing of three to six overlapping notes necessitated index functions such as:
• Cyclic segmentation using timeScale for extraction velocity
• Random segmentation
• Index list phase-shifting systems
In 2023, to address the constraints of CsoundQt, the system was migrated to a graphical user interface for Csound, integrated with spreadsheet software and expanded list management capabilities:
• Arpeggios: CMA = {261.63, 329.63, 392., 392., 329.63, 261.63}
• Harmonic phase shifts: CMS = {261.63, 329.63, 392., 329.63, 392., 261.63, …}
• Symmetric phase shifts: CMAS = {261.63, 329.63, 392., 392., 329.63, …}
This phase resulted in the development of the first application for managing five combinatorial triggers, establishing a foundation for a permutable pattern generator suited to multilayered and iterative compositions.
In 2024, the system was evaluated using Smalltalk syntax for Kyma, introducing the concept of PatternLag, which enables:
• Sequence generation, repetition and lagged
• Specification of repetition number
• Phase shifting after defined or variable cycle intervals
This function proved effective for iterative overlays characteristic of minimalist aesthetics while remaining adaptable to avant-garde matrix structures.
This expanded documentation is designed to:
• Disseminate musical indexing methodologies for computational systems
• Provide digital tablatures for chords, scales, and modes
• Supply tools for generative composition
• Enable harmonic exploration for experimental composers
– Establish a translation convention for existing modes: iBbaddb13add9 = B♭ with added 13th and 9th
The document includes two tables presenting corresponding values in hertz (Hz), ratio, and MIDI. Note repetition denotes the duration of note persistence within the system; difference indicates the frequency delta in Hz relative to the preceding value.
Concluding recommendation: indexing across two octaves is advised using ListNote{Hz or Sys or Ratio}.
| ListNote | Hz | RATIO | MIDI | Differences in Hz; |
|---|---|---|---|---|
| iC2; | 523.25" | 2.000; | 72; | 29.37 |
| iCD2; | 554.37" | 2.118; | 73; | 31.12 |
| iDb2; | 554.37" | 2.118; | 73; | |
| iD2; | 587.33" | 2.244; | 74; | 32.96 |
| iDD2; | 622.25" | 2.378; | 75; | 34.92 |
| iEb2; | 622.25" | 2.378; | 75; | |
| iE2; | 659.25" | 2.519; | 76; | 37 |
| iED2; | 698.46" | 2.669; | 77; | 39.21 |
| iFb2; | 659.25" | 2.519; | 76; | |
| iF2; | 698.46" | 2.669; | 77; | |
| iFD2; | 739.99" | 2.828; | 78; | 41.53 |
| iGb2; | 739.99" | 2.828; | 78; | |
| iG2; | 783.99" | 2.996; | 79; | 44 |
| iGD2; | 830.61" | 3.174; | 80; | 46.62 |
| iAb2; | 830.61" | 3.174; | 80; | |
| iA2; | 880.00" | 3.363; | 81; | 49.39 |
| iAD2; | 932.33" | 3.563; | 82; | 52.33 |
| iBb2; | 932.33" | 3.563; | 82; | |
| iB2; | 987.77" | 3.775; | 83; | 55.44 |
| CHORD SCALE Name | ListNote | HarmonicMean Hz | Differences Hz | |
|---|---|---|---|---|
| MAJOR | ||||
| 1 | C | iC, iE, iG. | 318.914 | 68., 62.37 |
| 2 | C6 | iC, iE, iG, iA. | 342.476 | 68., 62.37, 48 |
| 3 | C6|9 | iC, iE, iG, iA, iD. | 373.629 | 68., 62.37, 48., 147.33 |
| 4 | C(add9) | iC, iE, iG, iD. | 360.051 | 68., 62.37, 195.33 |
| 5 | CMA7 | iC, iE, iG, iB. | 349.904 | 68., 62.37, 101.88 |
| 6 | CMA7(add13) | iC, iE, iG, iA, iB. | 364.846 | 68., 62.37, 48., 53.88 |
| 7 | CMA9 | iC, iE, iG, iB, iD. | 380.682 | 68., 62.37, 101.88, 93.45 |
| 8 | CMA13 | iC, iE, iG, iB, iD, iA. | 420.442 | 68., 62.37, 101.88, 93.45, 292.67 |
| 9 | C7 | iC, iE, iG, iBb. | 346.257 | 68., 62.37, 74.16 |
| 10 | C9 | iC, iE, iG, iBb, iD. | 377.224 | 68., 62.37, 74.16, 121.17 |
| 11 | C13 | iC, iE, iG, iBb, iD, iA. | 416.925 | 68., 62.37, 74.16, 121.17, 292.67 |
| 12 | CMA7(b5) | iC, iE, iGb, iB. | 354.34 | 68., 85.67, 78.58 |
| 13 | CMa7(#5) | iC, iE, iGD, iB. | 345.32 | 68., 40.36, 123.89 |
| 14 | CMa7(#11) | iC, iE, iG, iB, iFD. | 391.143 | 68., 62.37, 101.88, 246.12 |
| 15 | CMA9(#11) | iC, iE, iG, iB, iD, iFD. | 414.202 | 68., 62.37, 101.88, 93.45, 152.67 |
| 16 | CMa13 (#11) | iC, iE, iG, iB, iD, iFD, iA. | 353.312 | 68., 62.37, 101.88, 93.45, 152.66, 140.01 |
| 17 | C7(b5) | iC, iE, iGb, iBb. | 341.768 | 68., 40.36, 96.17 |
| 18 | C9(b5) | iC, iE, iGb, iBb, iD. | 372.954 | 68., 40.36, 96.17, 121.17 |
| MINOR | ||||
| 19 | Cmi | iC, iEb, iG. | 312.914 | 49.5, 80.87 |
| 20 | Cmi6 | iC, iEb, iG, iA. | 337.267 | 49.5, 80.87, 48. |
| 21 | Cmi6|9 | iC, iEb, iG, iA, iD. | 368.66 | 49.5, 80.87, 48., 147.33 |
| 22 | Cmi (add9) | iC, iEb, iG, iD. | 354.298 | 49.5, 80.87, 195.33 |
| 23 | Cmi7 | iC, iEb, iG, iBb. | 340.934 | 49.5, 80.87, 74.16 |
| 24 | Cmi7(add11) | iC, iEb, iG, iBb, iF. | 379.818 | 49.5, 80.87, 74.16, 232.3 |
| 25 | Cmi7(add13) | iC, iEb, iG, iA, iBb. | 357.01 | 49.5, 80.87, 48., 26.16 |
| 26 | Cmi9 | iC, iEb, iG, iBb, iD. | 372.159 | 49.5, 80.87, 74.16, 121.17 |
| 27 | Cmi11 | iC, iEb, iG, iBb, iD, iF. | 333.311 | 49.5, 80.87, 74.16, 121.17, 111.13 |
| 28 | Cmi13 | iC, iEb, iG, iBb, iD, iF, iA. | 437.413 | 49.5, 80.87, 74.16, 121.17, 111.13, 181.54 |
| 29 | Cmi(Ma7) | iC, iEb, iG, iB. | 344.469 | 49.5, 80.87, 101.88 |
| 30 | Cmi9(Ma7) | iC, iEb, iG, iB, iD. | 375.525 | 49.5, 80.87, 101.88, 93.45 |
| 31 | Cmi7(b5) | iC, iEb, iGb, iBb. | 336.58 | 49.5, 58.86, 96.17 |
| 32 | Cmi9(b5) | iC, iEb, iGb, iBb, iD. | 368.002 | 49.5, 58.86, 96.17, 121.17 |
| 33 | Cmi11(b5) | iC, iEb, iGb, iBb, iD, iF. | 399.505 | 49.5, 58.86, 96.17, 121.17, 111.13 |
| Diminuiti e Sus | ||||
| 34 | Cdim. | iC, iEb, iGb. | 308.038 | 49.5, 58.86 |
| 35 | C°7 | iC, iEb, iGb, iA. | 336.58 | 49.5, 58.86, 96.17 |
| 36 | C°7(addMa7) | iC, iEb, iGb, iA, iB. | 356.212 | 49.5, 58.86, 70.01, 53.88 |
| 37 | C+ | iC, iE, iGD. | 323.841 | 68., 85.67 |
| 38 | Csus4 | iC, iF, iG. | 324.793 | 87.6, 42.77 |
| 39 | C7sus4 | iC, iF, iG, iBb. | 351.437 | 87.6, 42.77, 74.16 |
| 40 | C9sus4 | iC, iF, iG, iBb, iD. | 382.133 | 87.6, 42.77, 74.16, 121.17 |
| 41 | C13sus4 | iC, iF, iG, iBb, iD, iA. | 421.916 | 87.6, 42.77, 74.16, 121.17, 292.67 |
| 42 | C7sus4-3 | iC, iG, iBb, iF, iE. | 436.034 | 130.37, 74.16, 193.09, 39.21 |
| 43 | C7(#5) | iC, iE, iGD, iBb. | 350.601 | 68., 85.67, 50.86 |
| 44 | C9(#5) | iC, iE, iGD, iBb, iD. | 372.954 | 68., 40.36, 96.17, 121.17 |
| 45 | C7(b9) | iC, iE, iG, iBb, iDb. | 329.818 | 68., 62.37, 74.16, 88.21 |
| 46 | C7(#9) | iC, iE, iG, iBb, iDD. | 379.963 | 68., 62.37, 74.16, 156.09 |
| 47 | C7(b9b5) | iC, iE, iGb, iBb, iDb. | 326.549 | 68., 40.36, 96.17, 88.21 |
| 48 | C7(#9#5) | iC, iE, iGD, iBb, iDD. | 384.141 | 68., 85.67, 50.86, 156.09 |
| 49 | C7(b9#5) | iC, iE, iGD, iBb, iDb. | 332.962 | 68., 85.67, 50.86, 88.21 |
| 50 | C7(#11) | iC, iE, iG, iBb, iFD. | 387.493 | 68., 62.37, 74.16, 273.84 |
| 51 | C9(#11) | iC, iE, iG, iBb, iD, iFD. | 410.788 | 68., 62.37, 74.16, 121.17, 152.67 |
| 52 | C7(#11b9) | iC, iE, iG, iBb, iDb, iFD. | 363.389 | 68., 62.37, 74.16, 88.21, 185.63 |
| 53 | C7(#11#9) | iC, iE, iG, iBb, iDD, iFD. | 413.493 | 68., 62.37, 74.16, 156.09, 117.75 |
| 54 | C13(b5) | iC, iE, iGb, iBb, iFD, iA. | 420.405 | 68., 40.36, 96.17, 232.3, 181.54 |
| 55 | C13(b9) | iC, iE, iG, iBb, iDb, iA. | 368.183 | 68., 62.37, 74.16, 88.21, 325.63 |
| 56 | C13(#11) | iC, iE, iG, iBb, iD, iFD, iA. | 444.658 | 68., 62.37, 74.16, 121.17, 152.67, 140. |
| 57 | C7sus4(b9) | iC, iF, iG, iBb, iDb. | 333.565 | 87.6, 42.77, 74.16, 88.21 |
| RIVOLTI / INVERSION | ||||
| 58 | C13sus4(b9) | iC, iF, iG, iBb, iDb, iA. | 372.071 | 87.6, 42.77, 74.16, 88.21, 325.63 |
| 59 | C|E | iE, iG, iC2. | 318.914 | 62.37, 131.25 |
| 60 | C|G | iG, iC, iE. | 312.914 | 131.25, 136. |
| 61 | E|C | iE, iGD, iB, iC2. | 354.34 | 85.67, 78.58, 29.37 |
| 62 | Bb|C | iC, iD, iF, iBb. | 326.901 | 32.03, 55.57, 144.65 |
| 63 | C|E (add9) | iE, iG, iC2, iD2. | 434.855 | 62.37, 131.25, 64.08 |
| 64 | C(add9 omit3) | iC, iG, iD2. | 371.479 | 130.37, 195.33 |
| 65 | C7(omit3) | iC, iG, iBb. | 433.205 | 130.37, 101.88 |
| 66 | Cmi7(omit5) | iC, iEb, iBb. | 364.7 | 49.5, 182.75 |
| 67 | C# Ma7 sus4 (b5) | iCD, iFD, iG, iBD. | 378.638 | 92.81, 22.01, 131.25 |
| 68 | F#7 sus (add3) | iFD, iAD, iB, iCD2, iE2. | 416.758 | 96.17, 27.72, 60.49, 104.88 |
| 69 | Bb (add b13 add9) | iBb, iD2, iF2, iGb2, iC3. | 516.266 | 93.45, 111.13, 41.53, 306.51 |
| 70 | A+ (add #9 add b9) | iA, iCD2, iED2, iBb2, iC3. | 668.785 | 114.37, 144.09, 233.87, 114.17 |
| 71 | G#mi7 (add11 omit5) | iGD, iB, iCD2, iFD2. | 527.156 | 78.58, 60.49, 185.62 |
| 72 | F/F# | iFD, iA, iC2, iF2. | 480.864 | 70.01, 83.25, 175.21 |
| 73 | E+/G | iG, iE2, iGD2, iBD2. | 516.514 | 267.25, 171.36, 215.89 |
| 74 | G7sus/A | iA, iC2, iD2, iF2, iG2. | 498.731 | 83.25, 64.08, 111.13, 85.53 |
| 75 | GMA7(#5) / F# | iFD, iG, iB, iDD2, iFD2. | 381.219 | 22.01, 101.88, 128.37, 117.74 |
| 76 | EbMA7(#5) / F | iF, iG, iB, iD2, iEb2. | 472.876 | 42.77, 101.88, 93.45, 34.92 |
| 77 | BMA7sus / F# | iFD, iAD, iB, iE2, iFD2. | 476.78 | 96.17, 27.72, 165.37, 80.74 |
| MODI ANTICHI | ||||
| 78 | Ionico | iC, iD, iE, iF, iG, iA, iB. | 350.47 | 32.03, 35.97, 19.6, 42.77, 48., 53.88 |
| 79 | Dorico | iD, iE, iF, iG, iA, iB, iC2. | 387.552 | 35.97, 19.6, 42.77, 48., 53.88, 29.37 |
| 80 | Frigio | iE, iF, iG, iA, iB, iC2, iD2. | 427.888 | 19.6, 42.77, 48., 53.88, 29.37, 64.08 |
| 81 | Lidio | iF, iG, iA, iB, iC2, iD2, iE2. | 471.615 | 42.77, 48., 53.88, 29.37, 64.08, 71.92 |
| 82 | Misolidio | iG, iA, iB, iC2, iD2, iE2, iF2. | 521.964 | 48., 53.88, 29.37, 64.08, 71.92, 39.21 |
| 83 | Eolio | iA, iB, iC2, iD2, iE2, iF2, iG2. | 356.667 | 53.88, 29.37, 64.08, 71.92, 39.21, 85.53 |
| 84 | Locrio | iB, iC2, iD2, iE2, iF2, iG2, iA2. | 636.42 | 29.37, 64.08, 71.92, 39.21, 85.53, 96.01 |
| 85 | Scala Armonica | iA, iB, iC2, iD2, iE2, iF2, iGD2, iA2. | 606.053 | 53.88, 29.37, 64.08, 71.92, 39.21, 132.15, 49.39 |
| 86 | Scala Melodica | iA, iB, iC2, iD2, iE2, iFD2, iGD2. | 584.139 | 53.88, 29.37, 64.08, 71.92, 80.74, 90.62 |
| 87 | Blues | iC, iEb, iF, iFD, iG, iBb. | 346.847 | 49.5, 38.1, 20.76, 22.01, 101.88 |
| 88 | C diminuita (T-S) | iC, iD, iEb, iF, iFD, iGD, iA, iB. | 352.218 | 32.03, 17.47, 38.1, 20.76, 45.31, 24.7, 53.88 |
| 89 | C diminuita (S-T) | iC, iDb, iEb, iFb, iFD, iG, iA, iBb. | 342.62 | 15.55, 33.95, 38.1, 20.76, 22.01, 48., 53.88 |
| SIX TONE | ||||
| 90 | Modo1 (Messiaen) | iC, iD, iE, iFD, iGD, iAD. | 342.523 | 32.03, 35.97, 40.36, 45.31, 50.86 |
| 91 | Modo2 (Messiaen) | iC, iDb, iEb, iE, iFD, iG, iA, iBb. | 342.62 | 15.55, 33.95, 18.5, 40.36, 22.01, 48., 53.88 |
| 92 | Modo3 (Messiaen) | iC, iD, iEb, iE, iFD, iG, iAb, iBb, iB. | 355.634 | 32.03, 17.47, 18.5, 40.36, 22.01, 23.3, 78.58, 0. |
| 93 | Modo4 (Messiaen) | iC, iDb, iD, iF, iFD, iG, iAb, iB. | 342.097 | 15.55, 16.48, 55.57, 20.76, 22.01, 23.3, 78.58 |
| 94 | Modo5 (Messiaen) | iC, iDb, iF, iFD, iG, iB. | 341.453 | 15.55, 72.05, 20.76, 22.01, 101.88 |
| 95 | Modo6 (Messiaen) | iC, iDb, iD, iEb, iF, iFD, iG, iA, iAD, iB. | 349.537 | 15.55, 16.48, 17.47, 38.1, 20.76, 22.01, 48., 26.16, 27.72 |
| 96 | Modo7 (Messiaen) | iC, iD, iE, iF, iFD, iGD, iAD, iB. | 357.059 | 32.03, 35.97, 19.6, 20.76, 45.31, 50.86, 27.72 |
| 97 | Esatonale1 | iCD, iD, iF, iG, iA, iB. | 362.892 | 16.48, 55.57, 42.77, 48., 53.88 |
| 98 | Esatonale2 | iC, iD, iE, iFD, iGD, iAD. | 342.523 | 32.03, 35.97, 40.36, 45.31, 50.86 |
| 99 | Enigmatica (Verdi) | iC, iDb, iE, iFD, iGD, iAD, iB. | 354.533 | 15.55, 52.45, 40.36, 45.31, 50.86, 27.72 |
| 97 | Esatonale1 | iCD, iD, iF, iG, iA, iB. | 362.892 | 16.48, 55.57, 42.77, 48., 53.88 |
| 98 | Esatonale2 | iC, iD, iE, iFD, iGD, iAD. | 342.523 | 32.03, 35.97, 40.36, 45.31, 50.86 |
| 99 | Enigmatica (Verdi) | iC, iDb, iE, iFD, iGD, iAD, iB. | 354.533 | 15.55, 52.45, 40.36, 45.31, 50.86, 27.72 |
| INDIAN SCALE | ||||
| 100 | Bhairav thaat | iC, iDb, iE, iF, iG, iAb, iB. | 344.644 | 15.55, 52.45, 19.6, 42.77, 23.3, 78.58 |
| 101 | Todi thaat | iC, iDb, iEb, iFD, iG, iAb, iB. | 344.31 | 15.55, 33.95, 58.86, 22.01, 23.3, 78.58 |
| 102 | Purvi thaat | iC, iDb, iE, iFD, iG, iAb, iB. | 347.392 | 15.55, 52.45, 40.36, 22.01, 23.3, 78.58 |
| 103 | Marva thaat | iC, iDb, iE, iFD, iG, iA, iB. | 349.738 | 15.55, 52.45, 40.36, 22.01, 48., 53.88 |
| 104 | raga Nat Bhairav | iC, iD, iE, iF, iG, iAb, iB. | 348.114 | 32.03, 35.97, 19.6, 42.77, 23.3, 78.58 |
| 105 | raga Charukeshi | iC, iD, iE, iF, iG, iAb, iBb. | 346.042 | 32.03, 35.97, 19.6, 42.77, 23.3, 78.58 |
| 106 | raga Ahir Bhairav | iC, iDb, iE, iF, iG, iA, iBb. | 344.895 | 15.55, 52.45, 19.6, 42.77, 48., 53.88 |
| 107 | raga Saugandh | iC, iD, iEb, iFD, iG, iA, iBb. | 348.029 | 32.03, 17.47, 58.86, 22.01, 48., 53.88 |
| 108 | raga Vachaspati | iC, iD, iE, iFD, iG, iA, iBb. | 351.178 | 32.03, 35.97, 40.36, 22.01, 48., 53.88 |
| PentatoniX Scale | ||||
| 109 | raga Bhupali | iC, iD, iE, iG, iA. | 331.456 | 32.03, 35.97, 62.37, 48 |
| 110 | raga Durga | iC, iD, iF, iG, iA. | 335.24 | 32.03, 55.57, 42.77, 48. |
| 111 | raga Megh | iC, iD, iF, iG, iBb. | 338.132 | 32.03, 55.57, 42.77, 101.88 |
| 112 | raga Dhani | iC, iEb, iF, iG, iBb. | 342.561 | 49.5, 38.1, 42.77, 101.88 |
| 113 | raga Malkauns | iC, iEb, iF, iA, iBb. | 349.22 | 49.5, 38.1, 90.77, 53.88 |
| 114 | Pentatonica Maggiore | iC,iD, iE, iG, iA. | 331.456 | 32.03, 35.97, 62.37, 48. |
| 115 | Pentatonica Minore | iC, iEb, iF, iG, iBb. | 333.565 | 49.5, 38.1, 42.77, 101.88 |
Liuteria Sperimentale
General Twins
“Ho trovato finalmente il semiTono fra il MI e il FA !! nelle chime:)”
Un video davvero breve, di alcuni miei oggetti che hanno accompagnato concerti e produzioni nel campo elettroacustico e acustico fra connessioni e rifrazioni in membranofoni, cordofoni, aerofoni e idiofoni.
Membranofoni
Classic Tammora REMO 832630.0 22 “ pollici
MagicBalls bucata ed incollata ad una molla e bastone.
Cordofoni
Corda di violino collegata con due molle (del vecchio divano della Nonna), dentro pezzi di scopa rotti per ‘dar ulteriore lunghezza al supporto del TamTam.
Aerofoni
RODE BOOM POLE con il bocchino del clarinetto e il classico tubo per i cavi dell’elettricitá.
Idiofoni
2 oggetti da una lunga ricerca su idiofoni…
“Le Fountaine”
Spazi e vegetazione acustica.
Il luogo
Per questo primo esperimento ho scelto la Fontana Medievale di Laterza – Taranto – Italia. Per la grande presenza di acqua o onde, marmo o riflessioni ed insetti o timbri.
Si trova ai margini del centro storico, a ridosso della gravina, ha svolto per secoli il ruolo di approvvigionamento idrico.Benché la struttura, sia di impianto medievale/rinascimentale, il sito era sfruttato fin dall’epoca romana. Si conservano ancora i resti dei piccoli archi di un antico acquedotto a cielo aperto che convogliava le acque sorgive verso la vasca.
Si deve in gran parte al restauro e all’ampliamento nel 1544 del marchese Pietro Antonio D’Azzia.
Sulla struttura è infatti visibile lo stemma nobiliare che unisce le armi dei D’Azzia e dei Brancaccio insieme alla datazione dell’intervento.
La fontana è alimentata da una fonte sorgiva naturale, legata a una falda idrica sotterranea che proviene dall’area del vicino Santuario di Santa Maria Mater Domini, presenta undici mascheroni dalle sembianze umane e grottesche cui bocche sgorgano le cannelle d’acqua. Le espressioni severe e intimidenti dei mascheroni, avevano una valenza simbolica, di protezione: dovevano spaventare gli spiriti maligni per preservare la purezza dell’acqua. L’acqua versata dalle cannelle si raccoglie in un’ampia vasca/abbeveratoio longitudinale in pietra, storicamente utilizzata per l’abbeveraggio del bestiame e per il lavaggio dei panni.
Alcuni del luogo parlano di un uomo lupo (WareWolf) il cui nome abbreviato in: “il lupo mannaro!!” che durante la luna emergeva dal tunnel per bere.
Alcune alluvioni hanno creato incidenti, trascinando automobili animali e persone nella Gravina di Laterza.
L’installazione
Il suono fluisce dalle casse nello spazio, come un’onda in continua trasformazione. Sovrapponendosi a se stesso, crea strati di materia acustica che si spazializzano nello spazio, simili a particelle quantistiche.
È un processo generativo che trasforma il suono ambientale in un organismo sonoro.
Le riflessioni generano fenomeni di colorazione: l’energia sonora si accumula e si propaga nell’ambiente trasformandolo in un ecosistema.
Attraverso automatismi e ramificazioni analoghe a quelle naturali, la risposta dell’ambiente si comporta come un sistema adattivo ed emergente.
In questo contesto, campionatori e buffer diventano uno strumento importante: i suoni catturati germogliano ed evolvono come una vera e propria “vegetazione acustica”.
Le interazioni sonore seguono dinamiche naturali spesso additive, spesso sottrattive.
Gli spazi quindi, agiscono come timbro iniziale e corpo risonante creato da filtri dimensionali: la riflessione del suono ne altera le frequenze, rivelando nuove identità acustiche.
La composizione elettroacustica in questo contesto, diventa un ponte per indagare processi autonomi amplificando suoni non udibili e unendo arte ad indagini scientifiche e promozionali per la prevenzione e diffusione del territorio.
UpiX
UpiX IPad 5/09/2026. ( https://apps.apple.com/it/app/upix/id6804760793)
An application for the study and development of event overlays, based on notes or the manipulation of computer instrument parameters.
This project homage IanniX Xenakis and his UPIC machine, an innovative tool for generating experimental musical structures, where drawings and shapes become notes or event controls.
My work is realized on a digital platform that, while not producing sound itself, transmits MIDI signals.
This application uses “AppleCoreMIDI” and interacts with Audio-MIDI applications through its virtual driver “UpiX Out.”
Just open UpiX and an application like GarageBand, and UpiX will connect automatically.
Inside UpiX iPad A16 with “GarageBand“
You can use the iPad’s USB-C cable or specific apps for Bluetooth LE routing to connect UpiX Out to external devices.
Inside the first test of UpiX and Kyma with Out connections direct usb-C – usb C
It appears as a graph paper sheet;
a finger serves as a composition pencil, two fingers as an eraser.
It uses a variable-size spray for generating free and quantized, automatic dots for experimental uses.
In grid mode, my intuitions adapt to the sequence, quickly finding order at the intersections.
Time is modulated through BPM multipliers, linear automations, and random variations, giving the work an organic dynamic full of variations and silences.
It features an internal storage section and automatic page selection.
Can save pages with “Save Preset,” or use CMD+S shortcut for quick save during performances.
Recall the pagers with “Load” or “Auto-load” for the automatic opening of new sound rooms.
Create folders to store entire tracks, naming the folders and first pages in order to build a mosaic of ideas that flips through itself automatically.
Widowing’s
Quick movements turn into gestures: the spacebar pauses or resumes the flow, CMD+P opens the preset menu, CMD+E activates erase mode, and CMD+Del clears everything in a single gesture.
Since it’s a tool based on the sheet size, it’s essential to remember to pause before resizing the window.
Version 1.55 Cursor reverse.
Strongly raccomand free app midimittr (https://apps.apple.com/it/app/midimittr/id925495245) to connect app over bluetooth MIDI usb stick (https://www.amazon.it/dp/B0CGH6CK33?ref_=ppx_hzsearch_conn_dt_b_fed_asin_title_4).
Just open app midimittr go on usb, and connect to the stick.
UpiX iPad App Store